, Steven Spielberg , 1982 – fig: 1.3 Lastly, E.T. helped to raise the standards of visual effects incorporation in live action movies. George Lucas is another clear example of a pioneer who pushed the boundaries of visual effects in movies by making Star Wars: A new hope (1977). However, Spielberg introduced a whole new world opportunities in terms of visual effects incorporation in live-action films. This happened through the magnificent usage of visual effects in E.T.
Citizen Kane , a film directed by Orson Welles, showcases many fascinating elements of filmmaking. The way that Welles illustrates these elements of filmmaking is the reason that James Naramore describes Citizen Kane as a powerful work of art. The narrative structure of Citizen Kane is an examination into the life of Charles Foster Kane, from his ambiguous upbringing as a child to his renowned success as a newspaper tycoon throughout his entire adulthood. Welles’ narrative structure and use of specific techniques of sound and cinematography create significant meanings and effects throughout the film. Furthermore, Welles’ stresses the cinematographic technique of deep-focus photography and a variety of camera angles (i.e.
Grimes, analyzing how camera changes the ritual process, distinguishes nine interesting points how shooting can change reality. Before that, I would like to draw attention on the double meaning of the word shooting. In the one hand, it means shooting on the camera for making a movie track, on the other hand, it means to kill by shot. In this case, these meanings are very speaking; because one of our hypothesis is that camera can destroy magic of the theatre. Grimes claims that today culture is a visual one, that is why camera has become our memory in order to absorb and research as much information as we need/can.
What is Rack Focus or Pulling Focus Technique? Rack focus or focus pull is one of the great techniques employed often by cinematographers in Hollywood. This is the technique where a subject in a scene (foreground or background) remains in focus. Then the focus progressively changes to another subject in a scene. This technique lets the cinematographer lay a strong and theatrical emphasis on one subject followed by changing the emphasis to another.
Gravity affected the motion of the toy car heavily as without it the toy car wouldn’t of stayed the surface and the toy car wouldn’t of been able to generate momentum to allow the car to accelerate. Momentum was one of the main reasons there is continued to move as it was shown in the results, the science floor surface, the smoothest surface, the toy car went the furthest. The results confirm the hypothesis and confirm momentum is very important. Friction made the toy car to decelerate. The hypothesis was correct as the toy car had the most friction and went the least furthest on the grassy surface.
Alan Spiegel concludes Fiction and the Camera Eye: Visual Consciousness in Film and the Modern Novel (1976) speculating on the future of the novel in the age of film: ‘’the contemporary novel at its most advanced now consorts with the coldness and passivity of the photographic plate. Just s photography seemed to release painting from its representational functions, so perhaps the film was always meant to appropriate the mimetic tradition in literature itself free to’’ (Spiegel, 1976). It has been lamented that some novels are written not just as novels, but as future films. For example, Harry Potter. It has been argued that the experience of reading the books is akin to watching a film (Cartmell and Whelehan, 2010); Harry’s control of the gaze through the emphasis on his glasses, the influence of the blockbuster, especially the obligatory action sequences, and the intertextual references to Star Wars, in first volume, call attention to the ways in which Hollywood has shaped popular fiction.
Second, there are two types of conversational implicature in the main character’s speech, i.e. generalized conversational implicature in which the main character’s intention is explicitly uttered, and particularized conversational implicature in which the main character’s intention is implicitly uttered. In Winda Ayu Citra Dewi’s thesis titled ‘Speech Act in the Great Gatsby Movie Script’ (2015), the research objectives of the study are to know the illocutionary act based on Searle category that is used by the main characters which is found in “The Great Gatsby” movie script and to find out the strategies that is used to realize the illocutionary acts by the main characters in “The Great Gatsby” movie script. The research design on this study was library research with qualitative approach. In this research, the writer found
It is the latest innovation in cinematography. Color in film can build harmony or tension within a scene, or bring attention to a key themes. Color in local movies was attempte d in 1941 by LVN Pictures Inc. in Ibong Adarna. Batallion XIII which was introduce by LVN Pictures Inc. was the first colored picture shown to the public at the Avenue Theater, Manil, in December 1949 (Introduction to Humanities by Sanchez, Abad and Jao).. Today, all the film are already in color. Set and Art Director On a film set, an art director is responsible for all of the artistic and visual designs used for a production including all aspects of set design.
The report would be used different tools to generate the ideas such as shooting techniques and music. In this report, “The Pursuit of Happyness”, “I Can't Live Without You” and “Tokyo Tower: Mom and Me, and Sometimes Dad” will be analyzed. These films are valuable for studying the culture of love in different countries. The theme of family love and the skills used in these films will be discussed below. In the followings, we will discuss how those films use the shooting skills, narration techniques and scenes to explain the theme or increase effect in order to make audience feel touching.
“Cinematography is a writing with images in movement and sound” (Bresson). Cinematographers are known as “The directors of photography.” Cinematography is crucial to film and deals heavily with aesthetics in the making of a film. The cinematographer works closely with film directors and is one of the most valuable people on any film project because they are responsible for the artistic and technical aspect of any project. They make decisions about the overall look and feel of a film, and that is why they are called a painter and the film is their painting. As a cinematographer, it is important to know the history of cinematography, acquire a degree, gain experience in the field, and understand the challenges, advantages, and disadvantages that come with being a cinematographer.